No Ripcord's Scores

  • Music
For 1,907 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Now We Can See
Lowest review score: 0 Famous First Words
Score distribution:
1907 music reviews
    • 82 Metascore
    • 40 Critic Score
    There’s a lot of bluster and enthusiasm here but I’m struggling to identify much in the way of true substance.
    • 82 Metascore
    • 90 Critic Score
    You can’t necessarily call this new music, but it works because it doesn’t sound vintage, nor does it completely owe itself to any bygone era of “remember when?”.
    • 82 Metascore
    • 60 Critic Score
    Perhaps the best way to approach Theatre Is Evil is not even as an album, but rather a collection of songs--all fairly similar but often good, sometimes very much so.
    • 82 Metascore
    • 80 Critic Score
    Salad Days is a testament to love at its most selfless and pure as much as it is the fear of holding on to it.
    • 82 Metascore
    • 100 Critic Score
    Titus Andronicus have created an album that will grip the listener, carry them along on a tide of spit and blood and youthful aggression, and leave them dazed and exhausted at the end, with no other option but to start the record all over again.
    • 82 Metascore
    • 80 Critic Score
    Very few dance albums are, and in the end, that’s what Phoenix created--a dance album, possibly the most enjoyable one since "Oracular Spectacular."
    • 82 Metascore
    • 80 Critic Score
    Heartleap is a treasure to withhold, and though it's proclaimed as a departure, it feels both complete and satisfyingly open-ended.
    • 82 Metascore
    • 90 Critic Score
    The artistry on Shadows In The Night is as sharp as ever, which is a welcome reminder of how Dylan’s songwriting is only half the story. The emotional electricity of his albums stems from his composed and ardent delivery and the sonic poetry of the arrangements surrounding this delivery.
    • 82 Metascore
    • 90 Critic Score
    This is another huge step forward for a band not afraid to take them.
    • 82 Metascore
    • 100 Critic Score
    This Is It And I Am It And You Are It And So Is That And He Is It And She Is It And It Is It And That Is That, down to its mouthful of a title, is a fearless album, brought to fruition by a desire to push boundaries and explore sound.
    • 82 Metascore
    • 80 Critic Score
    When it gets it right, it gets it absolutely spot on, but a little more variation wouldn't go amiss. However, the album's highlights – and there are many – are just so fantastic that you can forgive it an awful lot.
    • 82 Metascore
    • 80 Critic Score
    Fade is a sign of perseverance for the group, as the album perfectly details just what is so essential and appealing about the group, and why there will always be a place for these guys in the world of indie rock.
    • 82 Metascore
    • 90 Critic Score
    Stunningly good.
    • 82 Metascore
    • 90 Critic Score
    House of Balloons is still his finest hour to date, but Echoes of Silence comes damn close to it.
    • 82 Metascore
    • 100 Critic Score
    I can’t recommend this album strongly enough.
    • 82 Metascore
    • 70 Critic Score
    It's a record that's quite open to cynicism--Exmilitary is easy to dismiss as excessive and carelessly noisy. It's going to polarise listeners, but it's useless to criticise it for being so angry and unlistenable because that's Death Grips' prerogative.
    • 82 Metascore
    • 70 Critic Score
    Vampire Weekend is indie rock with its edges sanded off, polished to a clean, sparkling sheen.
    • 82 Metascore
    • 70 Critic Score
    One thing the album does not suffer from is a lack of ideas. In fact, it sounds like the band has crammed each song with sounds, licks, rhythm shifts, basically anything they could come up with, hoping to manufacture inspiration from creativity.
    • 82 Metascore
    • 90 Critic Score
    Cox sounds comfortable and confident, and has made the best solo album of his prolific career.
    • 82 Metascore
    • 100 Critic Score
    Throughout its running time, Pale Green Ghosts sees Grant ably balance a sense of humour with quietly devastating content.
    • 82 Metascore
    • 80 Critic Score
    What a pleasure that Familiars is familiar primarily for its quality rather than its qualities.
    • 82 Metascore
    • 80 Critic Score
    Honeys may be just another rash, blustering effort, but for the first time there’s a faint hint of accessibility seeping through the cracks.
    • 82 Metascore
    • 80 Critic Score
    It's filled with memorable moments, digital pieces that are essential towards captivating very human moments without battering with the greater scope of things. It all makes this all-encompassing memory trip worth remembering.
    • 82 Metascore
    • 80 Critic Score
    There's something seductive and illuminating about Stott's new music, something that transcends the terror being emitted.
    • 82 Metascore
    • 80 Critic Score
    King Of Jeans burns with enough vitriol and frustration that the music escalates the album’s importance. And, at times, they do grant second-party attention.
    • 82 Metascore
    • 70 Critic Score
    Aside from a few tracks that feel tossed off, too self-aware in their own weirdness, Hawkline does manage to justify his odd behavior with heaps of whimsical charm.
    • 82 Metascore
    • 80 Critic Score
    Vile may get all the end-of-year glory, but his comrade's first full-length effort is just as laudable and commendable.
    • 82 Metascore
    • 80 Critic Score
    Mvula has written a hypnotic record that provides a congenial embrace, but it also isn’t afraid to take bold action. A new star is most definitely born.
    • 82 Metascore
    • 90 Critic Score
    Sensitive enough to charm you, yet with songs hard enough and strong enough to keep you from getting bored, Silent Alarm is already a strong contender for debut album of the year.
    • 82 Metascore
    • 50 Critic Score
    It’s an album focused on a very limited range of moods, and inhabits that tone very well, but ultimately does little to justify sticking around.